Category Archives: Programme

Professor Ted Solís

Invited scholar: Prof. Ted Solís
Time: Wednesday 10th 13:15 – 14:15
Title: Why Improvisation? Do we seek “tradition” or competency?

Where do our allegiances lie, in teaching, e.g., Javanese gamelan—a venerable tradition fraught with ritual, iconic, and performance conventions; or Mexican marimba music, which in its more traditional contexts is largely reproductive rather than improvisational? Should our allegiance be to the tradition, and does that tradition delineate our pedagogical goals? Many ethnomusicologists try to compensate for the perceived artificiality of the university environment by “faithfully” reproducing traditions. More recently some of us have found our pedagogic demands and personal predilections trumping reproductive “authenticity” for two reasons: First: we represent these traditions to our students, obliterating the performance and teaching hierarchies inherent in traditional learning.

Since we must thus do it all (create the context, teach all the instruments, singing, dancing) we of necessity make compromises. Secondly: we feel that these compromises lead to fruitful creativity and insights. My own goals are now more oriented toward skill sets and my students’ personal growth (notably including their perceived freedom to improvise) than, necessarily, a soi-disant reproductive “correctness”; thus, I often “mix and match” pedagogies and skill competencies. In seeking improvisational freedom, and to suit my reflexive pedagogical goals, I have created somewhat non-traditional but vibrant Pan-Indonesianisms and Pan-Latinisms in my ensembles.

Professor Ted Solís

Professor Ted Solís

Ethnomusicologist Ted Solís is Professor of Music in the School of Music, Arizona State University, USA. He holds an MA in Ethnomusicology from the University of Hawaii- Manoa, and the PhD in Music from the University of Illinois at Champaign-Urbana. His field research has included Northern India, Mexico, Hawaii, and Puerto Rico. He directs the School of Music’s Latin Marimba band “Marimba Maderas de Comitán” and the Javanese gamelan “Children of the Mud Volcano.” He is the editor of Performing Ethnomusicology: Teaching and Representation in World Musics (University of California Press, 2004); is co-author, with Gerhard Kubik, of “Marimba” in the Grove’s Dictionary of Musical Instruments, 2014; authored the article (by invitation) “’The Song is You’: From External to Internal in Ethnomusicological Performance” (in College Music Symposium Special Issue on “Ethnomusicology Scholarship and Teaching: Then, Now, and Into the Future,” 2014); and is co-editing the book in progress Ethnomusicological Lives, the first major “ethnomusicology of ethnomusicologists”(University of Illinois Press).

Master classes (NAFOL)

Wednesday June 10 th  13.15 – 14.15

Room: UND 262

Candidate Opponent Chair:
Siv Yndestad Borgen Gert Biesta Sissel Høisæter

Room: UND 303

Candidate Opponent Chair
Kirsten Linnea Kruse Hannah Kaihovirta Gry Tuset


Thursday  June 11 th  13.15 – 14.15

Room: UND 262

Candidate Opponent Chair
Anne Karin Orseth Anna-Lena Østern Helga Aadland
Nora Sitter Liora Bresler Helga Aadland

Paper sessions (NAFOL)

Wednesday June 10 th  13.15 – 14.15

Session 1 (Improvisation) – (Discussant: Keith Sawyer, chair: Kjellfrid Mæland)
Room:  UND 160 

Presenter Title  Cohort
Nora Sitter Defamiliarization and wide awakeness. Improvisation in reflecting on action 3
Ann Karin Orset The mask pedagogue as improvisator – The art of balancing structure and improvisation when teaching the neutral mask 3
Kristian Nødtvedt Knutsen Reflections form the inside out – doing improvised teaching 3

Session 2 – (Discussant: Staffan Selander, chair: Marit Kulild)
Room:  UND 263 

Presenter Title Cohort
Hege Myklebust Written argumentation – online and off 4
Kari Anne Rustand A study of concepts: writing vs genre 4

Session 3 – (Discussant: Anna-Lena Østern, chair: Helga Aadland )
Room:  UND 162 

Presenter Title Cohort
Anne Jordhus-Lier Content, Role and Mission of the Norwegian Municipal School of Music and Performing Arts 5
Torhild Høydalsvik Tact, having a good ear and pedagogical presence in connection with initiation of reform in higher education 5
 Geir Aaserud  Narrative methodology  4

Session 4 –  (Discussant: Ruth Leitch, chair: Michel Cabot)
Room:  UND 302

Presenter Title Cohort
Anna Rigmor Moxnes How do they make them reflect? – What do teachers in early childhood teacher education do to facilitate the reflections of their student teachers? 5
Tony Burner Studying processes of change when using the portfolio to enhance formative assessment 3
Elisabeth Iversen The researchers’ cross-roles in collaborative design-based research 5


Thursday June 11th  13.15 – 14.15

Session 5 – (Discussant: Keith Sawyer, chair: Kjellfrid Mæland)
Room:  UND 160 

Presenter Title Cohort
Sidsel Sandtrøen Improvisation in counselling and coaching. How can improvisation contribute to the performance in counselling and coaching? 4
Kai Arne Nyborg Defamiliarisation – antithetic to scaffolding? 3
Nicholas Sorensen Improvisation and teacher expertise: implications for the professional development of outstanding
Bath Spa University

Session 6 – (Discussant: May Britt Postholm, chair: Marit Kulild)
Room:  UND 263   

Presenter Title  Cohort
Bodil Svendsen Teacher professional development (TPD) by collaborative design:
A case of designing new teaching practice
Elisabeth Harris An investigation into the effectiveness of the strategies implemented to accelerate the progress of pupils eligible for the Pupil Premium Grant (PPG). Brunel University London

Session 7 – (Discussant: Gert Biesta, chair: Sissel Høisæter)
Room:  UND 162  

Presenter Title  Cohort
Svein Olav Ulstad Motivational predictors of autonomy support in physical education: Applied self-determination theory in order to study changes in motivation, perceived competence and learning strategy use among students so that they can improve their engagement, exertion and performance in physical education 4
Rannveig Björk Thorkelsdóttir Which elements of ecologies of practice seem to be of importance for drama teachers’ professional development and
well being?



Prof. May Britt Postholm

Keynote speaker: Professor May Britt Postholm, NTNU
Time: 10th June, 10:45-12:15
Title: Kultur-Historisk Aktivitets-Teori (KHAT) som teori og metode i forsknings- og utviklingsarbeid (This seminar will be in Norwegian)

KHAT er en teori som tar utgangspunkt i Vygotskys tanker og ideer. Teorien har dermed mange likhetstrekk med sosiokulturell teori, som har det grunnsyn at mennesker handler og lærer i sosiale kontekster og språket er av stor betydning i disse læringsprosessene. Yrjö Engetsröm har utviklet KHAT grafisk, og tilbyr modeller som er gode verktøy i utviklingsprosesser i en organisasjon som skolen. Disse modellene visualiserer hvordan ekspansiv læring kan foregå, en læring som handler om å utvikle noe nytt, som kan være ny eller videreutviklet undervisningspraksis i skolen. I denne parallellsesjonen vil jeg gå litt inn på grunnforståelsen i teorien. Videre vil jeg presentere aktivitetssystemet som analyseenhet og den ekspansive læringssirkelen som utgangspunkt for handlinger for å fremme målrettet utvikling. Videre vil jeg omtale forskerrollen, ulike forskingsfokus og hvilke forskningstilnærminger som kan brukes for å få en forståelse for både meninger og handlinger knyttet til utviklingsprosesser.

Prof. May Britt Postholm

Prof. May Britt Postholm

May Britt Postholm er professor ved Program for lærerutdanning, NTNU. Hun har publisert en rekke bøker og artikler både nasjonalt og internasjonalt om forskningsmetode, undervisning og læring.  Postholm er også kullkoordinator for kull 3 i NAFOL.


Prof. Liora Bresler

Keynote speaker: Prof. Liora Bresler
Time: 10th June, 10:45-12:15
Title: Improvisation in Qualitative (ethnographic) research

Professor Liora Bresler, University of Illinois at Urbana Champaigne, US

In this seminar professor Liora Bresler will give the participant a theoretical and practical introduction to qualitative research with an emphasis on improvised, intensified perception.  The session starts with a brief introduction to qualitative research and the way that philosophical background for this research tradition highlight improvisation.   The second part will be experiential, organized as investigation in an art-gallery or exhibition, where students’ observations and interpretations of different kind of artworks will be discussed in light of qualitative concepts.

Prof. Liora Bresler

Prof. Liora Bresler

Liora Bresler is Professor of Education in the College of Education at the University of Illinois at Urbana Champaign, where she also held positions at the Center for Instructional Research and Curriculum Evaluation, and the Bureau of Educational Research. She is a faculty member in the Campus Honors Program and affiliate Professor in the School of Music. She holds degrees in Piano Performance, Philosophy and Musicology from Tel-Aviv University, and Education from Stanford University. Her research interests include Arts and Aesthetic Education, and Qualitative Research Methodology.

Bresler is also a guesting professor at Stord/Haugesund University College


Prof. Staffan Selander

Keynote speaker: Prof. Staffan Selander
Time: 10th June, 14:30 – 16:00 & 11th June, 10:45 – 12:15
Title: Design-oriented Multimodal text analysis

In the seminars, we will explore a wider concept of text – the multimodal text – and also relate this to a design-theoretic thinking. The aim of the seminars is to: a) orient the participants in contemporary theories concerning texts and multimodal designs for learning; and b) give the participants tools to do empirical analysis.

Day 1
The seminar will present a design-oriented, multimodal perspective on texts and learning, and a new model for doing analysis of learning resources.

Day 2:
The participants will be able to specify their own research questions and test them in analytical work, based on the presented theoretic perspectives. We will do joint text-analysis from examples chosen by the participants

Some articles will be delivered before the seminar

Staffan Selander

Prof. Staffan Selander

Staffan Selander is Professor of Education and came to Stockholm University, Department of Computer and System Sciences, in early 2013 from the Department of Education. In his research he has a keen interest in learning, and in the interface that students encounter, i.e. the different learning processes.

He is coordinator for the profile area called Design for Learning (DEL), which includes areas such as mobile learning, game-based learning, and simulations. DEL also ties into the multi-modal perspective on communication and learning, focusing on both formal and informal learning environments. It’s about contributing to the development of new tools, but also the development of thought-models and tools to systematically study – and contribute to – a new approach to learning and change.


«Bodying» – the body as a subject in contact improvisation (workshop, 60 minutes)

Workshop: Tone Pernille Østern & Luis Della Mea
Time: Wednesday 10th June, 18:00 – 19:00
Title: Bodying – the body as subject in contact improvisation

Within contact improvisation, the body becomes a verb – communication takes place by means of «bodying». Dancer Tone Pernille Østern and musician and dancer Luis Della Mea guide the participants through a 1 hour session of contact improvisation which is accessible to all, with or without prior experience from dance/movement. Focus is directed towards listening and communication by setting movement to weight, by utilizing your own center and by relating to gravity as a tool for enabling movement.

Please join our dynamic and relational 1 hour session with bodily listening at its core!

Bodying - as exemplified by Tone Pernille Østern and Luis Della Mea

Bodying – as exemplified by Tone Pernille Østern and Luis Della Mea

Dr. Laudan Nooshin

Keynote speaker: Dr. Laudan Nooshin
Time: Wednesday 10th June, 10:45 – 12:15
Title: Re-Imagining Musical Difference: Creative Process, Alterity and ‘Improvisation’ in Iranian Music from Classical to Jazz

Since the late 1980s, an important strand of my research has sought to understand the underlying creative processes of Iranian classical music (musiqi-ye asil), a tradition in which the performer plays a central creative role and which is therefore often described as ‘improvised’, both in the literature and – since the mid-20th century and drawing on concepts initially adopted from European music – by musicians. Methodologically, one of the greatest challenges has been tracing the relationship between musicians’ verbal discourses – usually taken by ethnomusicologists as evidence of cognitive processes – and what happens in practice. Of course, the relationship is a complex one and the dual ethnomusicological methods of (a) ethnography and (b) transcription and analysis don’t always tell the same story. In the case of my work, I found a disjuncture between musicians’ discourses of creative freedom, albeit underpinned by the central memorised repertoire known as radif, and the analytical evidence which showed the music to be highly structured around a series of what could be termed ‘compositional procedures’, but which are not explicitly discussed by musicians. The results of analytical enquiry thus led me to problematise the dominant discourses which reify improvisation (bedāheh-navāzi) and emphasise the oral, ephemeral and improvised nature of Iranian classical music against something more planned and structured as represented by the concept of (usually implying notation) composition (āhang-sāzi); and ultimately to an interest in the implications of such binary thinking, both for the study of Iranian music and more broadly for (western) musicology.

More recently, I have been working with younger musicians – university-educated and cosmopolitan – who are developing new discursive frameworks for their creative practice, including an explicit articulation of compositional intent and an intellectual-analytical approach to performance which are quite new to Iranian music. From the researcher’s point of view, this closer alignment of practice and discourse makes it easier to discuss finer details of creative process with musicians. Of particular interest are the ways in which some of these musicians are moving beyond the accepted oppositional discourses of creativity and are re-imagining notions of musical difference, including a more porous understanding of creative practice and a more integral relationship between the ‘improvisational’ and the ‘compositional’.

This keynote address will explore various themes and issues arising from my work on creative processes in Iranian classical music, particularly in relation to questions of alterity. As well as discussing specific examples from Iranian music, I will engage broader questions concerning musicological paradigms, particularly where these have been mobilised as a marker of ‘otherness’, as in the case of (western) musicological discourses of creativity or in Iran where some scholars have drawn on notions of difference to distinguish a local ‘indigenous’ musicology from an externally-imposed (Euro-American) ‘imperialist’ musicology. I examine the implications of such paradigms for the analysis and understanding of musical creativity.

Laudan Nooshin

Dr. Laudan Nooshin

Laudan Nooshin is Senior Lecturer in Ethnomusicology in the Music Department at City University London, UK. Her research interests include creative processes in Iranian music; music and youth culture in Iran; music and gender; neo/post-colonialism and Orientalism; and music in Iranian cinema. Recent publications include the edited volumes Music and the Play of Power in the Middle East, North Africa and Central Asia (2009, Ashgate Press) and The Ethnomusicology of Western Art Music (2013, Routledge), as well as book chapters and journal articles in Iranian Studies, Ethnomusicology Forum and the Journal of the Royal Musical Association. Laudan is currently on the Editorial Boards of the Middle East Journal of Culture and Communication (Brill) and Ethnomusicology Forum (Routledge). From 2006-9 she was a member of the International Advisory Panel of the Journal of the Royal Musical Association and between 2007-2011 was co-Editor of Ethnomusicology Forum. Her forthcoming monograph is entitled Iranian Classical Music: The Discourses and Practice of Creativity (Ashgate Press).

Key questions addressed by the lecture

What is the relationship between the creative processes we usually refer to as ‘composition’ and ‘improvisation’?
How have musicological paradigms and discourses around musical creativity been mobilised as markers of ‘otherness’?
Is it possible to transcend existing binary thinking in understanding creative processes in music?

Recommended reading

Nettl, Bruno (1974). Thoughts on Improvisation: A Comparative Approach, The Musical Quarterly 60(1):1–19.
Nooshin, Laudan (2003). Improvisation as “Other”: Creativity, Knowledge and Power – The Case of Iranian Classical Music, Journal of the Royal Musical Association 128:242–96.
Solis, Gabriel & Bruno Nettl (eds) (2009). Musical Improvisation: Art, Education, and Society. Urbana and Chicago, IL: University of Illinois Press.

Preparation for the session
Read the above texts and research key terms.

Dr. Sigbjørn Apeland

Keynote speaker: Dr. Sigbjørn Apeland

Time: Wednesday 10th June, 14:30 – 16:00
Title: Improvising with the harmonium: Stories and Sounds

In this presentation, I will take a distanced position towards my own playing, trying to analyze what is happening when a contemporary improviser puts a forgotten, but historically and symbolically loaded instrument into play.

I will use the harmonium as a point of departure for problematizing the genres, contexts, stories and memories that are parts of the social event that any musical statement represents.

Improvising on the harmonium is not only about making sound. It is about relating to more or less broken instruments, logistics and solving a lot of practical challenges. For me the “musical” and the “extra-musical”(or text/context) becomes an inseparable unity.

Sigbjørn Apeland

Sigbjørn Apeland

Sigbjørn Apeland (1966). Education from Rogaland Conservatory of Music (organ) and The University of Bergen (Ph.D in etnomusicology). He holds a position as associate professor at Arne Bjørndal´s collection of Norwegian folk music at the University of Bergen. He collaborates with musicians within a wide range of genres, especially church music, Norwegian folk music, electronics and improvised music. He has also composed/performed music for mixed-media projects, most recently: The Organ Tower (installation/performance for about 25 harmoniums and electronic organs), Kanskje aller helst der (play by Ragnar Hovland), Jeanne d´Arc (silent movie). Participates on about 40 recordings. Two of those have got the Norwegian “Grammy” – Spellemannsprisen. (With Alog, electronica 2005, and Sigrid Moldestad, folk music 2007). Apeland is one of the few musicians who frequently plays the harmonium on professional occations. As an academic, Apeland has been teaching, supervising and writing within the fields of musicology, cultural studies, church music, theology and folklore studies. He has also extensive experience as a folk music collector and researcher, basically focused on material from Western Norway.

Key questions addressed by the lecture:

  • Are there any limits between music and context?
  • How important is the difference between musical improvisation and everyday human action?

Recommended listening:
Glossolalia (HUBRO CD2503).